Casey Jones ->
Greatest Story Ever Told
Brown Eyed Women
Box Of Rain
You Ain't Woman Enough
The Race Is On
China Cat Sunflower ->
I Know You Rider
Beat It On Down The Line
Playing In The Band
The Promised Land
They Love Each Other
Here Comes Sunshine
Me And My Uncle
He's Gone ->
The Other One ->
Me And Bobby McGee ->
The Other One ->
Johnny B. Goode
*Teddy edited all original aud shnid "12076" with silence removal, heavy hiss reduction, eq'ing and retracking in late 11/2006.
*Previous "12076" Loser aud patch edited with heavy hiss reduction & eq'ing by Teddy in 11/2006 from about 2:56 to 3:23.
*AUD Patch from "12076" in Truckin' from 4:14 to 4:38 edited with heavy hiss reduction & eq'ing by Teddy on 11/30/2006.
*shnid #12076 ~ AUD>MR(1)>C>D>CD>EAC>SHN. Audience recording provides:
--Casey Jones through Brown Eyed Women
--patch in Loser from 2:55 to 3:22
--all of Black Peter
--the final few seconds of Sugar Magnolia
(1) Per http://www.deadlists.com entry:
AUDMC > Reel > Reel > DAT > WAV > SHN
Recorded by Donn Amick, FOB, Sony EMC mics spread out across the row > TC-152 master cassette > Amick's Reel recorded at 7-1/2ips > Reel(w/ Dolby). A > D by Noah Weiner November, 2002
Reel playback on Pioneer RT-701 > Teac AN-180 Dolby decoder > Fostex D5 DAT (A>D only) > Turtle Beach Montego II Digital I/O > Soundforge (wav edits and track IDs) > SHNTOOL (SBE fix) > MKW (shn)
This recording is the same master that is found on current copies listed as AUD>MR>C>DAT>CD. That genealogy is completely fabricated. Not only was the recording not mastered on reel, but Amick put his master cassette onto reel and all direct copies he made, that we know of, came from that. Judging from the drastic difference in sound quality, this other listing is AUDMC>R>?>C>DAT>CD at best. The difference in sound quality is absolutely striking.
*Notes on original shnid "12076":
--the first few seconds of He's Gone are clipped (they are clipped on the audience recording as well)
--Sound Forge was used for a slight pitch correction throughout
--Part of The Music Never Stopped Project 2002
--Thanks to Mark Sweeney & Chuck Gannon
--Original shnid "12076" edits/encoding by JCotsman
**SBD>MR>C1 (Latvalla?)>DAT>CD>"12076">Teddy slight hiss reduction & retracking in 11/2006.
**SBD portions of Loser left unedited from "12076" and entire Loser only retracked by Teddy in 11/2006.
***SBD>MR>C1 (Latvalla?)>Teddy DAT(1?)>5/2000 edit by Teddy in CoolEdit (slight reduction in Bertha diginoise)>CD>EAC 11/2006 (slight hiss reduction & remove all remaining Bertha diginoise in CoolEdit Pro)>FLAC 11/2006.
***All timings were by Teddy in 5/2000 (retracked slightly 11/2006) w/extracting from DAT & tracked on 5/30/2000 in CDWave.
***This is not shnid "5293" nor "12076". HOWEVER, "12076" (perhaps "5293" also) is believed to be from another DAT copy of original source sometime in 9/2001 or more then likely "5293"/"12076" was derived from Teddy 5/2000 seed. "12076" sounds almost the same as Teddy's 5/2000 seed except minor retracking.
Teddy :^) http://www.goodbear.com
Home of etrees: http://www.goodbear.com/tree.html
All encoded to FLAC & Seeded 11/30/2006 by Teddy "GoodBear" Selby :wave:
June 26, 2015 Subject:
One more wave upon the sand...
Phil during PITB just kills it.
This is 73 . How can you go wrong?
September 18, 2014 Subject:
another marathon of smooth 70s grooves + freakout
Warning: there's a string of splices or "skips" in the Bertha around 1:30 to 2:40 and again towards the end -- it's not your computer (this is a nice version otherwise).
The "enhancement" of the patched in audience recording here isn't much of an improvement over other copies in the Archive ... a bit less muddy, perhaps, but maybe a bit on the tinny side with some wafts of high end distortion more audible as a result. I prefer the 14673 Weiner transfer if you're in the mood for the audience sound (for best results don't forget to "acclimate" to the sonics before diving into the deep waters ... ;)
The soundboard (which starts after Brown Eyed Women) is of exceptional fidelity with a nice even mix and great stereo. The kick drum has some nice umph to it which is sometimes absent from the boards from this era. Personally I'd like to hear a clean transer without any digital hiss reduction (I can handle that myself with analog EQ).
Gotta love the setlist: Greatest Story, Box of Rain, Row Jimmy (a mellow version, consistent with most of the rest of the show ... no slide guitar, but all of Bobby's moves are beautifully preserved... sounds like Jerry uses the second solo as an opportunity to tune his guitar and Phil picks up the slack), China->Rider (the segue almost starts to take off into something strange but veers instead into the safe haven of the "feeling groovy" jam), a great Playin in the Band (Keith seems to disappear for a good while during the jam ... is he just buried way back in the mix or is he playing very quietly or just ... gone?... until about 10:20 when the Rhodes shows up in a big way), They Love Each Other (Jerry turned way up on this one), Here Comes Sunshine (Bobby back up in the mix again at the beginning tho' it's pretty much Jerry and Phil and Billy pulling oars in the jam except for a too-brief Bobby solo around 7:00), a flaming Me & My Uncle, a sublime He's Gone with a lovely outro lasting no less than 8 minutes (?! - Keith just perfect on this) ... and a remarkable Truckin->OtherOne (with Phil absolutely huge in the mix, Keith splattering his Rhodes all over the arena walls, and enveloping a heartfelt uptempo version of Bobby McGee -- listen to Jerry and Bobby belt it out before their U-turn back into the Other One where things eventually get unusually ugly and fantastically beautiful again in rapid (or slow) succession for a solid 8 minutes. If you didn't know better you might swear you were listening to a Feedback from 1967 or 68.
Then toss in two of the best Chuck Berry songs. Where's the Bird Song, you say? The Wharf Rat? Well, you can't have everything ...
For those keeping track, this is an extremely well-played El Paso and the board recording serves it very well. The band hits all the peaks in perfect synch, Bobby nails the vocals and Jerry is right there with the harmonies.
There's no board recording apparently for the Black Peter but the audience works perfectly well. The versions of this period usually have great harmonies from Phil during the "come around" bridge before the final verse
Somebody (sounds like a woman but who knows) lets out a crazy scream towards the end of Playin' when the band signals that they're approaching re-entry into the song. She must be close to the front of the stage because her cries are very clear. Good stuff. There's some real carrying on after Playin' and few other great audience reactions captured by this board.
July 20, 2008 Subject:
great upgrade from the AUD
the AUD of this show isn't bad but having this SBD available is really great.... the Audience patches are minimal, the first few songs.... pick it up at JACK STRAW, and the band sounds great....
the board of Black Peter is missing.... and then the very end of SUGARMAG and the encore -- otherwise you get a very smooth sounding recording of the band at the height of their powers: the often maligned Here Comes Sunshine moves along at a nice upbeat tempo, BILLY sounds great, jerry smokes...... the jam from Other One trough Bobby Mcgee and back again isn't so much stretched out as inventive.